The female voice is a rounded and versatile instrument; it can be used to interpret emotions from sources traditional and contemporary. This selection features singer/ songwriters interpreting their own works and traditional material, and covers every hitching post from traditional Irish songs to Jazz standards and original material.

Dublin-born Manhattan resident Susan McKeown has her roots in traditional music; her career has crossed the singer/songwriter divide and allowed her re-examine her native roots. Sweet Liberty is her third solo album based in traditional material, following 2000's Lowlands and 1998's Bushes and Briars. It also is an acoustic recording and shows her penchant for epic story ballads. Among these is Nic Jones' 'Isle of France', which is here titled 'Shamrock Green'; the Isle of France here refers to Mauritius. 'Johnny Scott' is another epic ballad, which she heard from Drogheda singer Sean Corcoran of Cran who recorded it on the Sailing Into Walpole's Marsh album in 1976 on Green Linnet. 'Caledonia' learned from Tony Cuffe (RIP) is another classic story song, telling of a woman's adventures on the high seas. These songs suit Susan's strong and distinctive voice. So do the up tempo cadences of 'Oro Mhile Gra' wherein the Malian Ensemble Tartit add spicy African harmonies, while Mariachi musicians add their worth on 'Eggs in a Basket'. These additions do not intrude on the overall musical canvas but rather heighten the dramatic effect of the tracks in question. Sweet Liberty is a stunning collection of timeless story songs from a voice in its prime.

Born in Scotland and raised in Alberta and Ontario, Maria Dunn's name is new to me, but she has scored well in the Maritime music scene. Her second album For A Song followed her debut album From Where I Stand and album number three, We Were Good People, is in preparation. Dunn has done well at home, garnering rave reviews with a Gillian Welsh-type image; along with a historical perspective and a strain of social commentary, she has her roots well placed. Musically For A Song is a flythrough of Contemporary folk: traditional styles and influences of bluegrass and country enter betimes. Her songs are well written narratives and cover a number of bases, from ghost stories, as in 'Maggie Thompson'; reflections on migration in 'Take it Easy on Me'; and true events such as 'The Lingan Strike'. Her voice is clear and sharp, reminding me at times of Celia Humphris (lead voice of 70s folk rockers Trees) and Alison Krauss in its light and wispy in tone. Con O'Brien of The Irish Descendants guests on 'The Lingan Strike', and Shannon Johnson's production is solid and sure-footed. The sole traditional song 'Grá Geal Mo Chroí' is rendered a capella, although 'Poor Lonesome Hen' uses Gaelic walking songs' motifs effectively. To new ears like mine, For A Song is well worth discovering.

Alaska is home to The Derry Aires, a five piece vocal group comprised of Jenny Murray, Peggy Monaghan, Kathleen Bielawski, Kirsten Baird, and Karin Gustafson. Cheek to Cheek came out in 2000 and covers a wide playing field. Everything from 'I'll Tell My Ma' to 'Accentuate The Positive' to 'Boogie Woogie Bugle Boy' is here, as are 'Caledonia' 'Peggy Gordon', and 'Dancing At Whitsun'. A tradition seems to be emerging for female a capella groups to mix a varied program of folk and Jazz and popular standards. I also in passing checked similar CDs from my personal collection by The Wild Flowers and Fallen Angels and found equally diverse programs on their respective CDs, which definitely points to a shared repertoire and attitude to material. The Derry Aires have strong, sweet voices and display good harmonies and deft choice of material. 'I'll Tell My Ma' returns to its simplistic street song origins after being subject to an Ibiza treatment by Sham Rock. The jazz strains of 'Accentuate The Positive' and 'Boogie Woogie Bugle Boy' allow for vocal pyrotechnics and glee club singing while Christine Lavin's 'Regretting' echoes the ghost of Tom Lehrer and 'Dancing At Whitsun' is rendered straight up, as is 'Song for the Mira'. These women have good voices, clean sharp harmonies and produce a wholesome and vibrant sound. Cheek To Cheek is good listening.

This diverse selection covers a wide range of emotional responses. From adapting traditional songs in new settings to writing personal recollections of historical events, the lyrics carry power and effectiveness showing the depth and strength of the female response.